- Museum, quality, archival, eliah.
It's just a little too good.
It's just a little, come on, we at Life,
you give the sound!
Woo! [people cheering]
Hi, I'm Miley Cyrus and this is my "Life in Looks" thus far.
I'm in a very good mood this morning
because I'm doing my favorite thing,
looking at pictures of myself.
[smooth music]
Okay.
[smooth music]
[Miley gasping]
The Holy Bible.
[smooth music]
You know, behind every fabulous look is a four-hour fitting,
and I learned that by being Hannah Montana.
Jeremy Scott designed this dress.
We have been friends since this day until now.
He comes over to my house
and we dance on the table listening to Fergie,
and his loyalty dressing me from this time
when no designers understood dressing a teen pop star
for a Disney TV show, he did,
and I think that's part of Jeremy's genius.
I think this is the day that I decided
that I was gonna have control over what I was going to wear
because this was a time that I didn't have as much control
because I was playing a character.
So, it wasn't always about my own feeling,
but it was about what was best for the character,
and as I started to understand that the magic of Hannah
was actually the magic of me,
I started infusing my own style into Hannah's style,
but those hot pink Doc Martins, those were not my idea.
This is 2010. This was in a club in Paris.
I have 250 individual hair extensions.
I am serving you about four Beaumont belts
that were my personal.
I wore this because I felt like it was protective
and I also felt like it was a complete difference
from Hannah Montana's style.
So, this was my way of expressing myself
as Miley and introducing myself as Miley to the world.
I had been a character for so long,
so this was the beginning of, like,
developing who Miley would be.
Okay, this was the 2013 Met Ball.
I was invited to go as a date to Mark Jacobs.
James Kaliardos did my makeup and Oribe Canales did my hair,
and it makes me emotional
because the theme was punk, you know?
And it was actually so truly punk,
and I wasn't afraid
and he wasn't afraid to really go there
and to really lean in.
Even though I knew it wasn't going
to be completely understood or accepted by everyone,
that's the point of the Met Ball
is to do something that will cause conversation
and, you know, possibly controversy,
and that's one of the least controversial things I did
that year was make my hair look like a palm tree.
It's fashion.
This was the 2013 VMAs, this Teddy Bear costume,
which was extremely controversial
and made a lot of people angry.
I repeat, this teddy bear costume made
a lot of people angry.
This was inspired by a Todd James sculpture
that I had fallen in love with.
The bear reminded me of myself
for some reason, I thought it was beautiful,
and I had my own custom bear
by Todd James made for me that I could be inside
of and be birthed, which was what was happening,
it was a rebirth.
Oh, I love this.
This is 2014, me and Madonna performing
for the "MTV Unplugged,"
which I had creatively customized
to really represent the "Bangerz" era,
and as you can see,
Madonna also gave you "Bangerz"-era tongue.
Madonna also gave me the cowboy hat that I have on.
She made it custom for me
so we could be matching and I still have it.
I had this look made because I thought
that it represented where I had been, where I'm from.
We kind of made this a bit of a hoedown.
That's why Madonna had to be there.
I usually am kind of not that into denim
because I feel like I look like everyone else,
but Madonna is one person
that she will never be like anyone else.
She will always be Madonna and she'll always stand out,
even if that is in just a pair of jeans.
Alright, we're gonna start playing a really fun game.
The game is called "Archival Museum Quality,"
and this is our first piece, and this is Gaultier,
and this was for the Grammys,
and so every time I say "Archival museum quality,"
you have two options.
You can either do jazz hands or you can do the Angeline.
Who!
So, I'll do both, who,
and this is archival museum quality, you heard me.
At one time, I thought if fashion felt sophisticated,
it felt boring, or it felt, you know,
beyond my years and it wasn't my time yet
or I was too young or wanted to be too sexy to actually lean
into something that felt, you know, mature.
I also really liked it
because it did work as a privacy screen.
You always feel better when you know
that you just look sickening.
This is in 2019 for my dream gig.
This was for RuPaul's Drag Race.
Is this archival museum quality.
It's archival museum quality.
Who!
Ru is very punny and I wanted to have one on deck,
and so I told Ru, "We're gonna be breaking records,"
and I had worn this Margiela archival piece that is made
out of all real broken vinyls.
Being on the show was a dream of mine.
RuPaul is a hero, an icon, a legend, and she is the moment.
This is 2019 Glastonbury performance.
This look became kind of a staple at this era.
I showed up in my white tank top for the sound check.
I ended up, before going on stage, as I was getting dressed,
I was supposed to change into this matching corset that went
with the leather pant, and it felt too performative
and it felt too costume and it didn't feel authentic
and it didn't feel strong or tough.
It made me feel like a pop star
and it didn't make me feel like a person.
I wore all my personal jewelry that I had shown
up in that day, put on my bottoms,
which was a Margiela leather pant.
This was a Gucci belt that we deconstructed
and had customized to say Glastonbury,
which was inspired by a belt that Kate Moss wore
when she went to Glastonbury.
I'm so the girl in "Mean Girls."
It's like, Regina George cut the tits outta her tank top,
so I did too.
This is 2019, the "Mother's Daughter" music video,
which I, of course, had my mother, the mother, star in,
and we are both in Chanel.
Me and my mom love to match.
I know that's something you're supposed to outgrow,
but I haven't.
My mom is the most sexy, most powerful, most strong,
smartest woman in the entire world that I know.
We both are very inspired by her mom.
My grandmother was a "Glamazon."
One time, I cut my finger off
in a blender and my grandma took me to the hospital
and as she was coming to get me,
I thought she was holding band-aids to help take me
into the hospital, but it was a powder,
and she said,
"You never know who you're gonna meet in the hospital,"
and gave me a quick touch up.
So, this look is in 2019,
and very emotional for me to look
at this photo because this is me leaving my dear friend
and longtime hairstylist Oribe Canales's funeral.
Me and Oribe, we had a very funny relationship,
and we loved to out-bitch each other.
My last and final kind of "I'm gonna get you"
to Oribe was I brought my hair stylist,
Bob Braising, as my date.
We have a very similar dynamic
in the fact that this isn't just, you know,
hair and he's not just my hair stylist,
but we're a family, you know?
So, it makes me very emotional because, you know,
Oribe was my family too, so I just miss him so much.
This look is from 2019.
This is from a music video I did with Ariana Grande
and Lana Del Rey called "Don't Call Me Angel."
It's Gianni Versace, so, woo, archival museum quality.
Funny story about this is these angel wings,
which have been in my unit for a couple years,
oddly, they went missing,
and about a week later,
Lil Nas X did a music video in which he
is wearing wings very similar to these.
Uh-huh.
This is in February of 2020.
This was for the Mark Jacobs Fashion Show,
so this was my last hoorah
before we all experienced a pandemic.
The day before the show,
I had no plans on walking for Mark Jacobs.
Me and him started texting
and he mentioned it and I said, "I would like to come,"
and he said, "Would you like to walk?"
And somehow, 12 hours later,
I was on a plane and walking the runway from Mark.
I had the idea that I was going to blend
in with the rest of the models and kind of go unnoticed
and represent, in my mind, a community and a togetherness,
and Mark said, "You couldn't blend in
if you tried, and you shouldn't."
Even though this is kind of simple,
there's still a statement to it,
which is why he gave me the coat at the very last minute.
Oh, and Mark, I stole that bag, if you're looking for it.
Oh geez, Agna, I'm not gonna call you
out because it actually ended
up being incredible press for your girl,
but this look is Agna 2021 from "Miley's New Year's Eve."
This outfit did not stay
on very long because the chain in the back broke,
but what is a live TV performance
with everything going right?
Live TV is a tightrope walk.
They wanna see you dangle,
but they don't wanna see you fall.
We had promoted the show
as, "It's Miley Cyrus and Pete Davidson. They're so wild.
You never know what's gonna happen,"
and comparably to Pete, I'm pretty classy,
and the ratings were skyrocketing.
Show your boobs and you get renewed.
Dolly taught me that. There she is!
She doesn't like that I was just talking shit about her.
Steve Summers is Dolly Parton's costume designer.
He makes everything for her.
He said to me one time, which I think was a slay,
"It's not like I can just go pull something off a rack."
I think that was a jab, but anyhow!
I said, "Dolly, what do, you know, when we host together,
this is like, you know, Judy and Liza!
It's gonna be major!
Who cares what we're gonna do, what we're gonna sing.
That part's easy.
What are we gonna wear?"
What she usually does when she performs
with other artists is she
either matches them or she does the complete opposite.
I personally love when Dolly crimps her hair,
so this was a request from me
to her to please wear the eighties crimped hair.
We do kind of feel like, you know, sisters.
I can't even turn the page because Dolly looks so damn good.
I don't look bad either.
Bitch, it's fucking archival museum quality, Eliah, bitch!
It's better than I ever remembered.
Who! [Miley clapping]
Hey, this look is just a little bit too good.
This is one of those looks where, you know,
I didn't have to go this hard, but I did.
I'm hanging from this hole that we have suspended
in the middle of the Frank Sinatra estate
while I'm wearing museum quality, archival, eliah.
It's just a little too good.
It's just a little, come on, we at Life, you give the sound.
Woo! [people cheering]
We're not gonna talk about the shoe.
So, this look is from the "Flowers" music video,
and it is 1991, museum quality archival, who.
The magic of this dress is that Jacob, my director,
and Bradley, my stylist, and I,
we all came together and we were looking
at the treatment and we're going,
"Oh, Bitch, I know what you have to wear,"
and I'm like, "No, Bitch, I know what I have to wear,"
and he's like, "No, Bitch, I know what you have to wear,"
and then we all hold up our phone and it was the same dress.
Listen, Bitch, we shot the video before the runway
with all the hoods, and currently,
they are in Paris
at the Yves Saint Laurent Museum.
It is the gold exhibition,
which we had no idea
that was gonna happen.
I did it first.
I mean, Yves Saint Laurent did it first and I did it second,
and then they copied us.
It wasn't saying too much, it spoke for itself,
but it also allowed me to speak.
It completely captured what the song is about.
Those heels, that you can barely even see,
they are Tom Ford and they're brand new,
and they are my personal,
and they trekked through the wet grass
in that scene with the sprinklers going off.
Stephen Galloway sent Tom Ford a picture
of my Tom Fords stuck in the mud, and,
you know, we're thinking of you.
This is my 2023 British Vogue cover shot by Steven Meisel.
I was able to collaborate
in the styling with Edward Enninful,
who's been a really good friend of mine for years and years.
We've shot at so many different times of my life.
He knows I don't wanna just pull off a rack
or I don't wanna just wear clothes
that can be given to just anyone.
One thing that I learned recently that stuck with me,
from a ski instructor,
and you would never think it
would actually make it into being important about fashion,
there's your comfort zone, your learning zone,
and your panic zone,
and I don't like to live in panic.
It was a little outside of my comfortability.
I wasn't completely in control,
but it's important to let go sometimes.
I'm the boss 364 days out of the year, so, you know,
if I give one day to Steven Meisel,
I feel pretty comfortable that it's gonna create an outcome
that I'm very proud of.
[gentle country music]
[gentle country music] [marker scratching]
[book slamming shut]
That was my "Life in Looks."
Thanks for watching,
[gentle country music]
and keep watching.
It's gonna be good.
[gentle country music]